Her credits range from Netflix’s critically acclaimed “Master of None” and its hipster New York style to FX’s “Louie” and its characters’ casual, “schlubby” clothes, to Comedy Central’s “Inside Amy Schumer” and the abbreviated skirts and plunging necklines of its irreverent title star.

A more recent project represented a dramatic departure from the realism of the Big Apple or the trendiness of Los Angeles. Covarrubias was responsible for the wild fashions seen Sunday nights on TNT’s Florida-set dramedy “Claws,” which takes place primarily in a nail salon and combines crime, sex and soapy situations.

“That’s what’s so fun about this job,” Covarrubias, 32, said in a phone chat. “One day, I’ll be choosing the higher style of the characters on ‘Master of None,’ and the next, seeking out the gaudy, trashy and really kind of fabulous looks for ‘Claws.’”

Her handiwork will be seen next on the second season of HBO’s “Crashing.” She also just received word that she’ll be designing the looks for ABC’s third outing of the FBI drama “Quantico.”

“A lot of it is shopping, pulling from vintage stores and other shops, and constructing from there,” she said.

As head costume designer, Covarrubias added, she reads scripts and does tons of research. “Then, I bring to the director and producer my vision for the costumes, and they give me notes.”

Though she has lived in New York since attending college at Fordham University, her career path started in the Alamo City, where her parents, Dan and Shelly Covarrubias, still live.

“My mom handmade my Halloween and school play costumes,” she recalled, and when she was older, taught her to sew. “She always was very crafty. We loved doing crafts together; I picked that up from her.”

At both Bradley Middle School and Churchill, she was involved in theater. “But I was more fascinated with the process of the costumes; I realized along the way that was my favorite part.”

After college, she struggled to make it in New York. Her first job, as production assistant on IFC sketch show “The Whitest Kids You Know,” was unpaid, so to pay the bills she also worked as a waitress at a wine bar.

“I’d wake up at 4 a.m. to be on the set,” she said. “I was done at 5 p.m., then went straight to my bar job until 2 a.m. Yes, only two hours sleep most nights. But I was hellbent on making it in this world, so I pushed myself.”

The hard work paid off. In 2½ years, she went from production assistant to set costumer — helping the actors with their wardrobes — to the title she enjoys now.

Her first assignment as head costume designer was the second season of FX’s hit comedy “Louie,” starring Louis CK as a fictionalized version of himself, a divorced standup comic and dad.

“It’s a very contemporary, very basic show — the thing we wanted to achieve in the design was to make it as realistic as possible, the way New Yorkers really dressed — wanted to get away from anything that felt bright and friendly and TV.”

To achieve this, she said, “we make things look really lived in — put stains on stuff. If you bought something straight from the store, you’d wash it 10 times before the actor wore it.”

Louis CK’s wardrobe is primarily very casual, she said. “We bought a ton of different T-shirts. But he’s very particular about the style and cuts that he likes. Then we’d distress them all to make it seem like he’s had them for several years.”

“That show was all about creating his world — dark, depressive, schlubby. No one’s really pretty and put together.”

Each wardrobe she’s designed since demanded a similarly distinctive vision. For instance:

“Broad City” on Comedy Central. Covarrubias was the pilot’s costume designer, so she was responsible for establishing the quirky looks of pals Ilana Glazer and Abbi Jacobson.

“Their style was also New York, but more hipster,” she said, emphasizing how much fun it was to build their eclectic fashion. These included undergarments, such as Ilana’s preference for men’s boxer briefs.

“Inside Amy Schumer,” Season 4, Comedy Central. “It was refreshing to work with such an activist and good writer,” Covarrubias said. Schumer also embraced the provocative, fashion-wise. “Amy wants her skirt to be short and her top to be low.

“Another part of the job is taking clothes off the rack that might not look so great on everyone and tweaking them with alterations to make them look better. … For instance, when a T-shirt is higher on your hip and scoops down lower in the middle, it brings the eye up to the waist. And you can make the neckline deeper and wider.”

“Claws,” Season 1, TNT. “Niecy is definitely blessed,’ she said of series star Nash’s busty, hourglass figure. “Her character Desna is a very powerful woman, and she’s not afraid of her sexuality, so she wears lots of form-fitting stuff to show off what she’s got.”

In contrast, Carrie Preston’s character Polly, a con artist as well as a nail artisan, wears fashions that tend toward preppy. “The women’s different wardrobes solidify them as unique personalities,” Covarrubias said.

As for their eye-popping nails, which, in many scenes, are astoundingly elaborate, Covarrubias explained: “They would design those weeks in advance. And we’d coordinate the costumes to the nails.”

“Master of None,” Seasons 1 and 2, Netflix. “The first two episodes of season two were shot in Italy; and I was lucky to be able to go there for the shoot,” she said.

Lots of Italian designers supplied the suits and other clothes worn by Dev (Ansari) as well as outfits of his love interest, Francesca (Alessandra Mastronardi).

“Aziz also wanted to base the looks on black-and-white Italian films of the ’60s. We based Francesca’s wardrobe on actress Monica Vitti, and we based his looks on the clothes from ‘The Bicycle Thief’ and ‘L’Avventura,’” she said.

It also was a kick designing the cute clothes worn by fellow San Antonian Noel Wells, who played Dev’s love interest in the first season. Covarrubias had the most fun with an episode called “Mornings,” she said. “Every scene was a different day in their relationship. So we got to play with all kinds of pajama looks. On network TV, you see the characters in perfect matching sets, but that’s not really true to life. Here, we got to pull from vintage shops and mix them up.”

As Ansari and Covarrubias are close in age — early 30s — the two have become friends. “He’s such a sweet guy, easy to work with, very collaborative and creative.”

Best perk? “Aziz knows all the great restaurants — so much good food!”